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Not your typical fictional voyage to Mars

FOR reasons that remained mysterious by the end of episode one, veteran astronaut Tom Hagerty (Sean Penn) has been grounded. This left him watching helplessly as a launch accident wipes out his former crewmates, bound for Mars on a rocket bankrolled by prickly space visionary Laz Ingram (Natascha McElhone). By the episode’s end, the disaster has taken a huge psychological toll, not least on Ingram herself.

Welcome to the future – don’t expect it to be easy. Set 15 years from now, the world of The First is not very different from our own. Some cars drive themselves. Media gadgets proliferate. The women who currently hold high executive positions in private space companies are now public figures.

To hit the next launch window, Ingram and thousands of others – in government, in industry, in NASA and in space agencies across the world – are going to have to figure out how they are going to get a second stab at Mars. And what’s more, they are going to have to convince their paymasters, their employees, their constituents, their families and themselves, that all the time and sacrifice and renewed risk will be worthwhile.

The First is not your typical fictional voyage to Mars. “It would have been safer to just get into space in the first episode,” says series creator Beau Willimon, best known for his stylish US remake of political thriller House of Cards. “But space exploration, with all of its excitement, doesn’t happen overnight. A Mars project will take years of planning.”

Virtually the whole of the first season of this intriguing Martian epic will be set on Earth. It is a risky approach, but one that persuaded Charles Elachi, a former director of NASA’s Jet Propulsion Laboratory in California, to be a consultant for the show. “Only one organisation has successfully landed something on Mars,” he tells me with relish, “and I used to head it.”

“What attracted me,” says Elachi, “was Willimon’s desire to look at the Mars project in the round, taking in the scientific aspects, but also all the technical and personal and political challenges. How do you convince people to commit to these amazing projects? Important as the science is, exploration is a human endeavour.”

Elachi has seen the truth of this at first hand, having witnessed the decades of effort and sacrifice required to land rovers on Mars, and he is impressed that the series, although it accelerates events tremendously, still reflects the likely scale of a Mars mission.

“The series starts 15 years in the future, but for me, as the show’s technical consultant, it’s really a story of the next 15 years,” says Elachi. “It’s about all the things that come before that first flight: the power sources, the vehicles, all the equipment that needs to be developed and deployed before a human ever boards a rocket.”

Building the backstory to the series was essential. And according to Willimon, it was cool: “A lot of the questions we had were questions that researchers themselves are asking,” he says. “Every design element on the screen has a clear function and a precise reason for being there. We don’t want this to be an 8-hour science lecture, but it’s important for the audience that we can explain everything in the frame.”

It takes thousands of people to get one astronaut into space. Engineers, scientists, the medical team, the ground-support team: people bring thousands of years of combined experience to the business of making several minutes tick by without failure.

Willimon, whose father served months at a time on nuclear submarines, also knows the sacrifices families make. While his father was away, he says, “I used to make these drawings and maps and plans, trying to figure out where he was, under what ice shelf, in what ocean? And I’d try to work out what he was doing.”

This makes The First a very personal project. “We all ask ourselves, What does it all mean? Is there a God? Where’s my place in the universe?” Willimon reflects. If we asked these things of ourselves all the time, we’d go mad. “But space travel,” he says, “literally travelling into the heavens, forces your hand.”